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Perhaps the OCN was also hard-matted to 1.85:1. Thus, no extra optical step.

So the fine grain is hard-matted to 1.85:1? What would have been the purpose of that? Wouldn't a film that was shot flat like that normally have been matted during projection? Was that Seigel's attempt to ensure that his intended composition was respected?

This looks to be the same master as the recent Imprint edition, with a few less features and a better price point, since the Imprint is only available as part of a 5-film box set.

6.1 Rating on the IMDB 65% Fresh score on Rotten Tomatoes Critics Consensus Little Buddha's storytelling may be too childlike to best service its audacious plot, but Bernardo Bertolucci's direction and Vittorio Storaro's cinematography conspire to deliver a visually strong epic 53% Audience...

FILM NOIR: THE DARK SIDE OF CINEMA XVIII All three films are from 1955. But CITY OF SHADOWS is in the 1.37:1 ratio, while the other two are 1.85:1. Odd. And according to the AFI, CITY OF SHADOWS was the last of the three to go into production.

Kino previously released THE WHIP AND THE BODY in 2013, with the same extras. But now we have a fresh 4K scan. It appears as if the French language track has been dropped. The English track for this film does not have Christopher Lee's voice, since he never did any re-recording for the film...

LET'S DANCE was on laserdisc, but was it ever on DVD?

Maybe Kino will reissue POCKETFUL OF MIRACLES. Their original release was on a BD-25 disc instead of a BD-50 (for a 137-minute film) and had no special features except a trailer. That's why I passed on it.

AFAIK COMING HOME was a mono film in the theaters. MGM/UA must have remixed the sound for the laserdisc due to all the songs on the soundtrack. I wonder what became of that mix?

These are rare admissions of sound format. Why can't this information be provided on all Kino releases? And why can't it be provided on the packaging and not just in the announcements? And why can't "2.0" sound be identified as to whether it is dual mono, front stereo, or matrixed surround?

DEATH WISH 4: THE CRACKDOWN seems to be the same as the prior Umbrella Entertainment Blu-ray from 2019, less a few minor extras. The 2012 MGM Blu-ray did not have a commentary, just a trailer.

He's also back in the sense that this is KL's second Blu-ray release of MALONE--first issued in 2015, without the commentary.

Kino's Blu-ray was the long version, and AFAIK every release since the 1996 laserdisc has included the longer version. So, it would be a real kick in the pants for someone to suddenly revert to the shorter version, and I can't see that happening.

Reportedly, the difference is six seconds of footage from a love scene that takes place atop a mountain. Vincent Canby called the R-rating “absurd and a waste,” in his 22 July 1974 New York Times review.

DEATH MACHINE was released theatrically by Trimark. Doesn't that mean Columbia/Sony?

Five Reasons Why Old Movie Posters Are Better Than Current Movie Posters 1. Old Posters Are Brighter Looking – Most illustrators drawing a poster begin with a white canvas. Consequently, the parts of the poster not covered by artwork or credits are often left white, or shaded in some other...

Most flat UA films destined for widescreen projection were likely protected all the way out to 1.33:1 for television, and that is the way most of them originally appeared on VHS.

That's on the Criterion Blu-ray, and I already bought the 1997 TV remake on Blu-ray from Kino. The other special features come from the MGM (50th Anniversary Edition) DVD, so the second disc is superfluous to me.

In addition to Sorrowful Jones, Damon Runyon's "Little Miss Marker" story was used as the basis for Universal's 1962 film Forty Pounds of Trouble, directed by Norman Jewison and starring Tony Curtis, Suzanne Pleshette and Claire Wilcox; and Universal's 1980 film Little Miss Marker, directed by...

Is THE WEREWOLF OF WASHINGTON really being released from public domain hell?

Looks like the site is still dead. It's true that many links on the site were broken. Most of those were because the underlying sites were themselves gone; others because the other sites' link structures had changed. More and more, I had been going to the review links on the IMDB for reviews...

Furmanek's website shows SECRET OF THE INCAS as being in 1.85:1. The AFI Catalog says "up to 1.85:1" https://sites.google.com/site/3dfilmarchive/the-first-year-of-widescreen

It's unfortunate that the U.S. release version of a film so recent has been lost, along with the credited 4-channel quadraphonic soundtrack.

So true. The art work makes it look like SERGEANT RYKER is an action film like THE DIRTY DOZEN, but it's mainly a courtroom drama.

I saw HELLO, DOLLY! twice at the AFI Silver Theatre--once in 70mm on their 41' screen and then in 4K on their 37' screen. The 70mm presentation seemed much more vivid and bright to me. Is it possible that the lamp in the 70mm projector just threw a lot more light on the screen than the DCP...

Someone timed the music on the laserdisc release as running 9:40 [OVERTURE (3:25), INTERMISSION (0:25), ENTR'ACTE (2:25), EXIT MUSIC (3:25)]. So that means that the film proper runs 146 minutes.

Sound is always a toss-up with KL. They rarely mention it in their announcements or on their disc packaging. The only review I found of the DVD of THE HALLELUJAH TRAIL said that the sound was in 5.1. Olive's Blu-ray was said to be in 2.0 (opinions differed as to whether it was dual mono...

"A slightly slower speed'? That suggests that there was a speed differential caused by some PAL to NTSC video conversion. Since all references indicate that the film ran 91 minutes when released, that suggests that the KL/Jezebel release was speeded up, not that the earlier releases were...